亟待视域突破的谢晋研究:2011年以来谢晋电影研究综述  

An Urgent Need of Visionary Breakthrough in the Studies of Xie Jin: A Review of Xie Jin's Film Research Since 2011

作　　者：刘海波 苏丹[1,3] LIU Haibo;SU Dan

机构地区：[1]上海大学上海电影学院 [2]上海大学谢晋中国电影研究中心 [3]四川电影电视学院

出　　处：《电影理论研究(中英文)》2024年第3期19-28,共10页Journal of Film Studies

基　　金：国家社会科学基金艺术学项目“构建与实践:新时代中国影视‘人民美学’研究”的阶段性成果(项目批准号:22BC043)。

摘　　要：作为中国第三代导演的代表人物,谢晋在中国电影史上占有举足轻重的地位。在经历了“创作伴随期”“盖棺定论期”两个研究阶段后,自2011年起,谢晋研究进入了新的历史阶段。近十多年来,饶曙光、陈旭光、虞吉等多位学者对谢晋电影的总体风格、谢晋电影模式内涵、谢晋电影中的女性形象,以及谢晋与中国电影学派、人民美学之间的关系等进行了研究。但总体来看,近十多年的谢晋研究是对以往研究的继承,缺少新话语、新概念的突破性发展,谢晋研究亟待找到新的理论着力点。As a representative figure of the third generation of Chinese directors, Xie Jin holds a pivotal position in the history of Chinese cinema. After going through two stages of research, namely the “accompanying period of creation”, and the “final judgment period”, Xie Jin's research entered a new historical stage since 2011. In the past decade, scholars such as Rao Shuguang, Chen Xuguang, Yu Ji have conducted research on the overall style of Xie Jin's films, the connotation of Xie Jin's film models, the female images in Xie Jin's films, and the relationship between Xie Jin and the Chinese film school and People's Aesthetics. However, in general, the research in Xie Jin in the past decade is the inheritance of previous research, lacking breakthrough development of new discourse and new concepts. Therefore, it is an urgent need that a new theoretical focus on the studies of Xie Jin should be found.

关 键 词：谢晋电影 情节剧模式 影像传奇叙事 女性形象 

分 类 号：J911[艺术—电影电视艺术]